Tuesday, May 21, 2019

Painting and pondering at Jentel Art Residency in Wyoming.

As I cull images for this post, my heart aches. I'm looking thru the hundreds of photos and videos I took of the landscape, and I recall my frustration that I could never adequately document my experience of this immense environment where I resided for four weeks.

It's hard to capture the endless undulation of grey-green hills, and the way they briefly turned orange as the sun was setting; the delight I felt at seeing so many horses, antelope, porcupines, cattle, and birds. The stark beauty of those tree-less hills accented by outcroppings of scoria; the marmots, the cowboys, the buffalo, the bones – so many bones scattered throughout the fields! We affectionately coined one area "Death Valley" because of the mounds of cattle bones we found there. 

Chamberlain, South Dakota oil on canvas 30" x 40" 2019

I arrived at Jentel after three long days of driving. I'm a new driver so that was a huge challenge for me.

"Iowa Windmills" oil on canvas 40" x 30" 2019
"I Want to Hide in Meadows" Oil on paper 22.5" x 30" 2019

In the first days of the residency I made paintings about it, trying to capture the dizzying spectacle of all the new places I encountered and the anxiety I experienced driving on all those interstates. 

After I got that out of my system, I was able to work more with the paint, and experiment with my marks and materials. I was trying to capture the naive enchantment I felt towards the landscape and the animals. I experimented with a new canvas that absorbs paint in a different way that I'm used to, inspiring a new approach and a more stylized outcome.

Wyoming landscapes, acrylic on synthetic  canvas

At some point I began dragging my materials outside, letting the rain and wind become a part of the process. I used rocks to create peeks and valleys like the ones I was looking at, as a way to create different kinds of drips and marks. I let leaves and bugs get blown into the paint. I left a painting in a rainstorm overnight.

The landscape urged the creative process, and I didn't want to ignore the environmental challenges of painting outside. I can't pretend such things don't have an effect on the painting process – the hot sun on my neck, the frigid wind, or the cold rain numbing my fingers.

Jentel Plein Air acrylic on canvas approx. 50" x 60"

"The Thousands"acrylic on canvas approx. 42" x 55"

"Wyoming Flowers" acrylic on paper 22.5" x 30" 2019

"Magpies" mixed media on paper 22.5" x 30" 2019

"Lower Piney Creek" acrylic on paper 22.5" x 30"
Ultimately these paintings were completed in the shelter of my studio, but their impetus was commanded by the landscape and my relationship to it.

It was beyond incredible to have a huge studio and all the time in the world to paint or hike the thousands of rugged acres surrounding the site. These images probably represent 60% of the work I produced during my four weeks in residence. 

Thanks for the journey, Jentel! Give my best to Wyoming. Love, Ursula

Tuesday, April 2, 2019

Mining the Edges of a Pre-invented Existence.

Mining the Edges of a Pre-invented Existence 

on view at 
Window (re/production|re/presentation)
March 18 - July 18, 2019
54 Broadway, Asheville, NC 
(Henco Reprographics, south window)

Project Statement
The original printed image came to me matted and framed behind glass – one of many that was used to decorate the rooms of a local hotel. Presumably the image was chosen for its nostalgic narrative and non-threatening aesthetic, and maybe that is the kind of image that conveys comfort to travelers. 
Original Print (blurry because it's behind glass.)
Using a packing knife, I cut into the image to extract elements such as an evergreen tree, cottages, church-goers, and the formidable church steeple – revealing an underlying layer of white foam core. (Foam core is polystyrene product developed in 1957 by the Monsanto corporation, which is neither recyclable or biodegradable.) I reassembled the parts to make "Dazed." 

"Dazed" re-purposed print with acrylic paint on board 16" x 20"
I created a digitized composite of the physical artwork using my flatbed scanner (which blurred out some areas and sharpened others.) I manipulated the image through use of the "magic eraser" and "content-fill" tools in Photoshop. The former tool selectively mines pixels and deletes them. The latter collects and reproduces visual information based on algorithms and artificial intelligence. Both tools struck me as perfect metaphors for how information is disseminated to a population.

"Mining the Edges of a Pre-invented Existence" digital composite.
Elements of the title, "Mining the Edges of a Pre-invented Existence" were extracted from the pages of Close to the Knives, a Memoir of Disintegration by David Wojnarowicz.

The final image has been printed onto vinyl, and is currently on display in the south-window of Henco Reprographics as part of Window (re/production|re/presentation), a site-specific minimalist exhibition space in downtown Asheville. 

Window (re/production|re/presentation) is a long-term public art project that aims to stimulate thoughtful discussion around timely issues of re-production and re-presentation within contemporary art in the local community and beyond. The primary focus is upon works that repurpose found or archival source materials; challenge notions of originality and authenticity; stimulate perceptual phenomena through reiteration or duplication; implement re-photography as a critical component; or embrace re-production as essential to the work. 

Visit www.windowcontemporary.org for more information.

Saturday, May 19, 2018

Projections at NC Art Museum | Raleigh, NC | May, 2018

As part of the You Are Here exhibition, the NC Art Museum hosted two weeks of interactive light graffiti workshops, parties, and workshops with Austrian artist collective OMAi, May 15–26.

I had the the opportunity to work with Markus and Matthais of OMAi to create paintings and animations to be projected on the side of the East Building of the museum for a Night Bright Community Festival Friday, May 26. It was a pleasure collaborating with them!
More images and video on my Instagram page.

Monday, March 26, 2018


Are you taking a lot of classes but still yearning for more critical feedback and community with other artists? I am heading up a Critique Group that will meet several times during spring and summer for arts discussion, networking and creative discovery.


Sat. APRIL 7    10am - 12pm
Sat. APRIL 21  10am - 12pm
Sat. MAY 12     
10am - 12pm cancelled.
Sat. JUNE 2     10am - 12pm
Sat. JUNE 23   10am - 12pm

Meeting location will be RAMP Studios at 821 Riverside Drive. (Right behind Cheap Joe's Art Supply.)

Bring 3-6 works of art you've made recently that you would like feedback on. We will look at the work as a group, talk about a specific issue, and you will leave with an personalized assignment or challenge to work on. Each participant will be encouraged to develop her/his own creative perspective and body of work. Our long term plan is to coordinate a group exhibition, and work on individual marketing strategies. 

Cost: $25 per session. $15 if you want to just listen in. Pay as you attend.

Space is limited. The first five people who RSVP are guaranteed peer feedback. Please contact me directly at ursulagullow@gmail.com if you are interested and/or have questions. You are not required to come to each meeting. 

Wednesday, March 21, 2018

Under the Sea at the North Carolina Art Museum, May 17.

I'm delighted to be included in a fun outdoor art festival at the North Carolina Museum of Art in Raleigh, NC on Thursday, May 17th. The theme is "Underwater Love" which suits my Cancerian sensibilities, and my Disney sea witch namesake.

I will be working with OMai to create an animated painting that will be projected on the side of one of the museum buildings. OMai created TagTool, a software that allows artists to create animated projections in real time.  I'll also be heading up a pop-up art project for festival-goers. I'm particularly looking forward to this opportunity to create an interactive project with the public.

More details and photos to come.

Monday, December 11, 2017

New Land, Old Land

I recently closed on a two-acre parcel of land in Delaware County, NY. It's located in the NYC Watershed, and there is a moratorium on industrial development so that the waters are kept free of hazardous materials. Basically it's like acquiring land in the middle of a national park. This is the land where I grew up. (The grey building in the photo is the house I grew up in.) For now my little parcel of land is mostly milkweeds so I like to think of it as a butterfly sanctuary. I have dreams of one day establishing an artist retreat, or a land art garden, or a sustainable berry farm. I will continue to post updates as things develop. 


Thursday, November 23, 2017

In a Time of Trouble a Wild Exultation

I'm pleased to share that my long-time-friend-for-the-ages, Jaye Bartell, has used a painting I made over ten years ago as the image of his new album, In a Time of Trouble a Wild Exultation. I met Jaye in 2004 when we both worked in a coffeeshop in Asheville, NC. I was working on the painting during that time. Over the years Jaye and I were roommates a couple times and have generally shared a fondness for rad female painters and writers. Jaye lives in Brooklyn now and is a brilliant friend to visit galleries and museums with.
Please give his music a listen - it's so lovely:

In this interview, Jaye writes:
"The cover art is by Ursula Gullow. Throughout the nearly 15 years I’ve known Ursula, she has represented what I understand an artist to be, and has guided and formed that definition in a primary, ever-expanding way. Her work has been on the walls of any place I’ve ever lived. I love Alice Neel and Edvard Munch and Charlotte Salomon because their work reminds me of Ursula’s, so her work was my point of entry. I didn’t grow up in an “artistic” environment, or a literary environment. It wasn’t until 18 or 19 that I started reading and looking at images that weren’t on television, a cereal box, or an album cover. Ursula’s cover painting was the first work of art that breathed and moved me toward not only reverence or admiration, but to work and to a life where dreams and grace and mystery had value."